A brief history of pictorial Japan

Meee REN a rate es

(one age Oey < ‘ea | s

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BY

AISABURO AKIYAMA,
AUTHOR OF

“PAGODAS IN SUNRISE-LAND”
“SIGHTS OF OLD CAPITAL”’
“THE GION FESTIVAL”
ETC., ETC.

H A RM oe hb OR
Rw # = RB

1919

y ey. a

OREVER AND FOREVER,
ee IN DAY OUT,
MONTH IN MONTH OUT,
YEAR IN YEAR OUT,
MAY
THIS LITTLE WORK
MEMORIZE MOST GRATEFULLY
THE IMMEASURABLE KINDNESSES
IMPERISHABLE FOR AGES ETERNAL
SENATOR AND MRS. WILLARD SAULSBURY,
WILMINGTON, DELAWARE, U.S. A,,
DURING THEIR VISIT TO JAPAN
IN THE SUMMER OF 1918,
DIVINELY SHOWERED UPON THE
AUTHOR!

Gazing on an Imposing
Gingko-tree, so prays, Aisaburo Akiyama.
Tokyo: June, 1916.

PRBEFAGB.

Art is the esthetic manifestation of human
emotion. It might, therefore, as well be said that
the art of a nation is no other than a symboliza-
tion of its nationality. Thus, through all ages and
climates, nothing could demonstrate more vividly
the national spirit than the fine arts.

From this point of view, the author intends,
on behalf of visitors to this paradisean land
miraculously gifted with each grace of nature and
of art, to make a brief sketch of the history of
pictorial Japan, which may simultaneously narrate
a part of her bygone life. |

Now, Japanese painting is abstract or ideal
in its principle. This seems to come from the
fact that the Japanese do not like to be far off
from nature, but to live with her, and to be turned
and condensed into herself is their cherished desire.
As it is, our artists, who are rich in synthetic

knowledge, can freely and cleverly pick up any

materials out of innumerably varied forms of matter
in the universe and transform them into a perception,
through which they admirably depict imaginary
beauties. This natural idealization is evidently
their speciality. However, they have neglected
sundry gists, namely, perspective, shading and
the visual angle, etc., and have laid too much
importance on line only. No attention has ever
been paid to realism, so that their superiority is
found in drawing patterns more than in realistic
painting. In recent years, European influence has
begun to add more of scientific dexterity, but it
would be a question of paramount interest to watch
whether it will introduce any healthy development

into a style peculiar to this country.

The Author.

Tokyo : June, 1916.

II

GONTENTS.

From the Accession of the Emperor Jimmu
Till the Introduction of Buddhism. I
The Asuka, or the Suiko, Period. 3
The Hakud, or the Tenchi, Period. 5
The Tenpyo, or the Nara, Period. 6
-The Konin Period. 9
The Fujiwara Period. 13
The Kose School. The Takuma School.
The Kasuga School. The Tosa School.
The Kamakura Period. 18
The Kose School. The Takuma School. The Tosa School.
The Ashikaga, or the Muromachi, Period. 21
The Tosa School. The Hoknsd School.
The Unkoku School. The Kané School.
The Toyotomi, or the Momoyama, Period. 31
The Kano School, The Unkoku School.
The Hasegawa School. :
The Tokugawa, or the Yedo, Period. 37
The Tosa School. The Kanéd School. The KGrin School,
The Itch School, The Ukiyo-e School.
The Maruyama School. The Shij6 School. The Nanga School.
The Mochizuki School. The Kishi School.
The Revival of Old Tosa, Independent Artists,
The Meiji Period. 77
The Kano School, The Tosa School. The Shij6 School,
The Nanga School. The Yosai School.
The Ukiyo-e School and Color Prints. Occidental Painting in Japan.

\

N.B.—The reader is requested to note that the division into periods in the
book is approximate and is done for the sake of convenience.

A BRIEF HISTORY
OF

PICTORIAL JAPAN

FROM THE ACCESSION OF THE EMPEROR JIMMU TILL THE
INTRODUCTION OF BUDDHISM. (660 B.C.—552 A.D.)

Wr to the lack of reliable records, much about our
ancient history remains wrapped in a shroud of obscurity.
It is traditionally acknowledged that some 1211 years cover
a huge gap between the accession of the first Emperor of
Japan, Jimmu Tennd, and the introduction of Buddhism in
552 A.D., yet this period was presumably chaotic and event-
less, leaving scarcely any historical relics of momentous
consequence. In short, this is what chronologists generally
denominate the prehistoric age.

It needs no explanation that, in the primitive stage ofa
country, the fine arts are in a state of embryo, which is by no
means noteworthy. In the earliest ages, Japan seems to have
had a kind of picture, or rather patterns. Among those
which have been recently brought to light from underground,
there are discovered ‘an earthen coffin with human figures
on horse-back’ painted on the outside, a jar with lozenges,
‘a sword with vine designs’ carved on its haft, and ‘a stone-

I

coffin with sundry figures’ drawn inside. Itis a matter of
course that all these objects are, in the strict sense, undeserving
of being called painting, but are merely ornamental. repre-
sentations. Besides, such remnants are too scanty on the
whole to show the exact state of work. si

There is almost no knowing when the authentic history
of our painting started. It would be, therefore, undeniably
reasonable and fair to commence its first chapter at the Suiko
period, that is, just after the introduction of Buddhism. Prior
to this, in the 7th year of the reign of Emperor Yiryaku
(463 A.D.), there came over to this country, at the Imperial
request, Isuraga, a Korean painter, accompanied by his
assistants. He taught some people, by which more or less
progress is said to have been made. But as to what sort
of works, it remains unknown, for nothing survives to reveal
it. The descendants of Isuraga were many and some of them
were called ‘‘Yamato-Eshi”’ (Artist of Yamato province) ;
others, “ Kawachi-Eshi’’ (Artist of Kawachi province), etc.
In the same reign, Nanryu, or Shinki, a Chinese painter
of royal descent, arrived and spent the rest of his life as a.
naturalized subject. All of his descendants were as adept
as himself. The fifth generation was especially patronized
by the Emperor Tenchi, who was pleased to confer the title
of “Yamato-Eshi” on it; later in 769, the Empress Shotoku
honored the family with the name of “Oka-Imiki” after the
location of its residence. They inherited the profession as
“Shinabe” and did a great deal towards the advancement |
of painting. The “Shinabe’” was a hereditary artist who
chiefly executed official and sometimes private orders. Nothing
that is thought to be their work is in existence as far as
we can judge. We infer, however, that in those days many
Chinese artists took their temporary abode in Korea and that
the ruling style may have been after that which swayed’ the
“Six Dynasties” in China.

THE ASUKA, OR THE SUIKO, PERIOD (552—645 A. D.)

The ever-growing popularity of Buddhism in this gene-
ration encouraged importing from Korea Chinese paintings,
mostly those of the Buddhist school. In 588, the King of
Korea presented to the Emperor a bone of Buddha, and at
the same time, sent the artist Hakka and his party, accom-
panied by priests, carpenters, tile-emakers and various other
workmen. Perhaps these painters might have been engaged
in decorating temples and utensils. In 597, Asa Taishi, a
Korean prince, visited this country and painted a portrait
of the renowned Prince Shotoku. This portrait is extremely
famous and was one of the greatest treasures of the Horyuji
temple, but it is now the property of the Imperial Household.
It is done on paper, slightly colored, measuring about 3 feet
and 7 inches by 1 foot and 8 inches. According to the critics’
opinion, this must be a production of later days, because the
period and the costumes do not agree.

Now, Prince Shotoku was an enthusiastic advocate of
and believer in Buddhism. He built temple after temple at
various places, which necessitated his having many painters.
In 604, he selected a number of the ablest artists to whom
he gave the titles of ‘‘Kibumi-no-Eshi, Yamashiro-no-Eshi,
Suhada-no-Eshi, Kawachi-no-Eshi and Narahara-no-Eshi”
respectively. He treated them with such favor as to exclude
them from taxes. “ Kibumi” may have meant one who
illustrated only Buddhist sitras. The rest appear to have
been called after the places each of them lived in. In 610, a
Korean priest, Donché by name, came over and resided
permanently in the Horyuji temple. He was a good colorist
and handed down to his Japanese pupils the method of making
painting materials, paper and Indian ink, which was a novelty

3

to them. This made greatly towards the development of art.
In 621, the death of Prince Shdtoku was more than his
consort could bear. She wept over the mournful event day
and night. How passionately she longed for the beloved
Prince! At last, from an ardent desire to see how the Prince
was passing his life in the next world, she ordered the
naturalized subjects, one Korean and two Chinese, to draw
a picture of the ‘Tenjukoku” (Land of Bliss), where the
Prince was supposed to be born again. By aid of the said
design, she had two Mandalas embroidered by her court-
ladies, which are very noted and a few fragments of them are
still preserved in the Chiiguji temple. }

Besides the above, there are the notable relics in the
Kondo of the Horyuji temple: the angels depicted on the
canopy and the painting on the ‘Tamamushi Zushi,” a port-
able shrine made of wood, set ona stand, measuring 7 feet
and 4 inches high in all. The picture on this shrine, according
to the most trustworthy authorities, is not only the oldest in
Japan but in the Orient, which makes it still more precious.
‘“Tamamushi”’ means a kind of beetles (chrysochroa elegans),
and “ Zushi”’ a small shrine to install a Buddhist image in.
The name is derived from the fact that innumerable wings
of the insect are inserted under the perforated work, thus
reflecting a golden blue color. On the four sides of the
pedestal and on each leaf of the doors on the three sides there
are drawn Sakyamuni, Bodhisattvas, pagoda, Mt. Sumeru,
plants, rocks and various other objects, which are related to
Buddhist sitras. They are executed with a pigment called
“‘ Midaso,” which is an oxidation of zinc, consisting of white,
black, red and yellow colors. The use of this stuff was
apparently prevalent in the Nara period, but it went out of
fashion in the next era. In China, it had been extensively
employed in drawing flowers, plants and portraits as early as
the 6th and 7th centuries.

There must have been undoubtedly many other produc-
tions in this period, but time seems to have been working its
devouring power with these valuable treasures.

THE HAKUO, OR THE TENCHI, PERIOD. (646—709 A.D.)

The consecutive importation of Chinese civilization
through Korea and the vigorous intercourse with China
enhanced the rapid progress of art. In painting, profound
knowledge and imagination were more freely applied to designs
than hitherto, improving immensely. In 701, the Emperor
Monbu issued an ordinance, thereby constituting the “ Picture
Bureau,” composed of one president, four experts and sixty
assistants. They devoted themselves to ornamental pictures.
It was because at that time palaces and utensils were decora-
tively colored after the Teang fashion. In China, Buddhism
having been broadly adopted in the previous (the Sui) dynasty,
she naturally introduced the Indian style of painting. It was
mixed with the Grecian school, that had entered India with
Eastern European civilization since the descent of Alexander
the Great on the East. Whence this style crossed over to
Japan and gave rise to a fresh school.

The most wonderful and representative work of this age
is the mural painting in the Kondo of the Horyuji temple.
Judging architecturally and chronologically, there are many
different views attached to this priceless relic. Some say it is
by Donchd, while others by Tori Busshi, or someone else. At
any rate, it is done after the Greco-Indian style and is asserted
to be similar to the one in the cave of Ajanta in India, which is
firmly believed to have been executed in 600 A.D., or so. This
work, one of the most remarkable to be seen in Japan,
shows us the exquisite art of about thirteen centuries ago. In

5

drawing this, the walls were covered at first with carbonate
of lead and then painted with colors, representing the Para-
dises, of four Buddhas, namely, Amida (Amitayus), Hoshd
(Ratnasambhava), Yakushi (Bheshajya-Guru) and Shaka
(Sakyamuni), together with the images of Bosatsu (Bodhisattva)
and Rakan (Arhat). They are all about 7 feet in height.

It is an infinite disappointment that there should remain
no other pictures, with the exception of the above-stated fresco
which tells us the pride of those times.

THE TENPYO, OR THE NARA, PERIOD (710—794).

The present age, in which Buddhism reached its climax
of prosperity and as a matter of course Buddhist artists enjoyed
the height of patronage, is one of the most brilliant chapters
in our history. This is in reality the epoch of sculpture, which
developed to such an extent that nothing done later can equal
the works of that period.

; It is an intense regret that, owing to the fact what very
little is left now, we can not definitely ascertain whether
‘painting kept pace with her sister art sculpture. According to
the existing objects, however, it is obvious that the former can
not be mentioned in the same breath as the latter, although
it was not presumptively improbable that, applying the pre-
vailing superior method of the Tang dynasty, there might
have been turned out many excellent works. The art of
coloring had made an apparent advancement and the variety
of colors had increased. While pictures hitherto were wholly
confined to Buddhist requirements, there appeared a visible
tendency that the people began to take pleasure in painting
itself, apart from the exclusive use of ornamentation, which is
worthy of notice. Some artists were specially engaged in

+

Century)

G (th

AL PAINTIN
O OF THE HORYUJI TEMPLE, VAMATO.

THE MUR

A PORTION OF
IN THE KOND

decorative works, others in drawing flowers and_ birds.
Buddhist paintings were done’ usually by priests or those who
were connected with temples. That was because they had to
be made in accordance with the fixed forms of doctrine.

One of the most striking productions in this period is an
image of “ Kichijoten” (Sri), a goddess of luck, in possession
of the Yakushiji temple. It is painted on cloth, measuring only
1 foot and g inches by 1 foot and 1/3 inch. Also there is
the noted illustration of ‘‘Kakio Genzai Engakyo,” or the
Sitras of Causal Events in Past and Present Existences.
Besides the above, some pictures are preserved in the Imperial
Treasure House “‘Shosdin” in Nara, including the famous screen
known as “ Torige-no-Ritsujo.” This consists of six panels ;
on each of them there is depicted a beautiful lady standing
under a tree. Her garments and locks were made with
feathers, which are all torn off now, save a few fragments on
the clothes. However, experts say, one can get from the
outlines traceable with dimness a fair idea of pictorial art at
that time, though it was still in an embryo state.

According to the catalogue of offerings to the Todaiji
temple, it possessed fifteen folding screens of landscape and
human figures and it is further stated in the inventories of the
temples Horyuji, Saidaiji and Taianji, that they had a number
of pictures; but they are all lost at present, and consequently
their value is buried in utter darkness.

THE KONIN PERIOD. (794—888 A.D.)

Kyoto was literarily and esthetically the heart of
enlightenment after the Emperor Kwammu removed to this
city from the old Capital in 794. The fresh taste and the
spirit of the day were fully given to painting, reforming all

9

antique modes and making a marked advancement when com-
pared with what it was in the previous period. There was
created a new school which principally aimed at those pictures
delineating landscape and customs in lieu of those Buddhist
ones which had been hitherto solely in vogue. Thus the artists
in decoration work, who had been formerly prospering, declined
greatly in the present generation, due to the adopting of the
pure native style to decorate the walls and sliding-doors of
the Imperial palaces which were then being erected.

The works of repute existent today were all painted by
priests ; among others, Kobo Daishi (774-835) was most skil-
ful, followed by Chisho Daishi (814-890) and Gishin (830-883),
etc. It is unanimously admitted that genuine Japanese paint-
ing owes its origin to the two great artists, namely, Kudara no
Kawanari and Kose no Kanaoka, whose imperishable efforts
brought about a memorable development.

Kudara no-Kawanari. (781-853 A. D.) Kawanari, a descen-

dant of a naturalized Korean, being
highly versed in pictorial as well as military art, rendered
distinguished services to the Emperors Ninmyo and Buntoku,
and later was appointed to an exalted office. He had
frequently the honor to paint in the Imperial Palace the port-
raits of ancient personages, landscape, trees and plants, all of
which were true to nature. His fame is still ringing at the
present day, but there exists none of his achievements to be
admired. The following two amusable traditions, though not
without a suspicion of hackneyed exaggeration, show how he
excelled in realistic painting :—

“One day a servant-lad of Kawanari ran away and his
whereabouts were utterly unknown. Now, our great artist
ordered a man to go after the missing urchin, to which the
man replied with a knowing air, ‘ All right, sir, Iam at your
service, but how can I possibly find a boy whom I have never
seen before?’ Thereupon, spreading out a sheet of paper,

10

Kawanari hastily made a sketch of the lost youngster, with
which he charged his new domestic to go into the bustling
streets and search out the puny runaway. While, portrait in
pocket and with eagle eyes, our amateur detective was
wandering about the city, he came across a stripling whose
feature was exactly like the picture, with which he made
instantly a secret comparison, and could unmistakably identify
that he was none but the little absconder. Here’s Nemesis
indeed! The innocent rascal was brought back willy nilly to
his quondam master.”

“ Hida no Takumi was an expert in architecture in this
generation. Once he and Kawanari made an appointment to
have a contest of skill. Now, the architect informed his friend
that he had’ built of late a small shrine in his premises
and asked him to come and draw on its walls, to which an
offhand reply was cheerfully given. On visiting Takumi’s,
the painter found a tiny shrine of about six feet square with
all doors open. Trying to enter from the south, he found the
door shut by itself; so coming round to the west, the door on
this side closed again by itself, simultaneously the first one
opening automatically, at which he was not little vexed. Then
he tried desperately from north to east, in fact every corner,
but all in vain. Seeing the embarrassed artist in despair, the
tricky architect heartily laughed at and bantered him.

“Some days later, Kawanari sent an invitation to
Takumi, who, for fear of revenge, did not readily accept it, but
finally did so though reluctantly. Calling upon the artist
and opening a door leading to a corridor, so shockingly sur-
prised was he to find a ghastly dead body lying there,
discolored, swelling and shedding matter, that his hair stood
on end and he was about to run away double-quick like a
hare. Beholding the poor crony in a comical state of awful
confusion, our joky portraitist, being so cock-sure of his jolly
success, remarked, ‘ What frightened you so much, my friend ?’

II

Thereupon, the modest architect, becoming a bit self-possessed,
turned back shivering and glanced at the mysterious corpse
scrutinizingly. Good Heavens! Ah, ha, ha! It is, indeed,
a dead man but painted on a sliding-door.”
Kose no Kanaoka. (circa 860-900 A. D.). Kanaoka, gloriously
known in future gene-
rations as the “Pictorial Genius of Japan,” was a dignitary
serving in succession the five Emperors, Seiwa, YOzei, Koko,
Uda and Daigo. He was an unexampled master in almost all
departments of painting and often exhibited his consummate
skill in the Imperial Palaces. His style was based, it is
said, on that of Wu Tao-tsu (“Goddshi” in Japanese), a
matchless Chinese artist in the T>ang dynasty.

“Ona certain day the Emperor Uda, when residing in
the Ninwaji temple after his abdication, ordered Kanaoka to
draw a horse on one of its walls, which he executed so realis-
tically that it looked exactly like a live one. Just at the
time, the fields in the neighborhood were nightly spoiled by
some devil and the rice-plants gnawed. All the naive peasants
felt intensely perturbed and sorely wondered who on earth
could the offender be. Here’s a pretty howdy-do! Shortly it
was detected from the earth on the hoofs of the painted horse
that he has been running out of the wall and doing damage.
Thereupon the eyes of the poor creature, alas! were scooped
out, which eventually checked his further raids.”

‘‘Kanaoka again painted a spirited stallion on a sliding-
door in the Imperial Palace. This animal used to walk about
under cover of Cimmerian darkness and chew the lespedezas
beautifully depicted on a screen. On discovering the cause of
the unartistic mischief, the picture was immediately changed
into a horse tied to a: post and hence he gave up grudgingly
his favorite nocturnal promenade.”

Needless to say, all these stories are groundless, yet
they are enough to prove what Kanaoka’s dexterity was. It

i2

is extremely regrettable that there exists hardly any of his
work now, and that although there are many Buddhist paint-
Ane. attributed to him, none of them can be taken as genuine,
being done in rather modern a fashion.

THE FUJIWARA PERIOD. (888—1185 A.D.).

Since the powerful reins of Government fell into the
hands of the Fujiwara family, the culminant prosperity and its
consequent luxury, on the top of which they dreamily passed
their Utopian days, afforded a great encouragement to the
speedy production of splendid works of art. As wealth would
generally go hand in hand with extravagance, clothing and
habitation were driven to the extremity of richness and
sumptuousness, to which laughable but innocent vanity led the
nobility and gentry at that time. Thus there was much
demand for objects of art for decorating palatial mansions, and
artists showed their exquisiteness in a variety of forms. Parti-
cularly, on the wall, the sliding-door and the screen, painting
was the only way of obtaining admiration. As it was, ladies
and gentlemen held frequent meetings for the purpose of com-
menting on one another’s pictures or even of testing the skill of
their own drawings.

The works of these days, being full of delicacy, elegance
and taste, amply remind us of the aristocratic times. At the
beginning of this period, the Buddhist school flourished ex-
tensively, so that Chinese landscape was being appreciated,
but it was gradually replaced by the native subjects, delineating
historical events, customs, stories and scenery, etc., which were
drawn in the so-called ‘‘ E-Makimono,”’ or rolled picture.

A typical priest Eshin Sdzu (942-1017) was well versed
in painting. His style is the combination of the Tang and

13

Yamato schools. He was most skilled in drawing Buddhist
subjects. Among others, his noted “ Amida and Twenty-five
Bosatsu Welcoming Departed Soul,” said to have been done in
his 24th year and preserved now in the temples on Mt. Koya,
is not only the best specimen of his day, but the greatest work
of its kind. The priest Eri Sozu (847-931) was another
good hand. Toba Sdjé (1053-1140), the famous priest was
unrivaled in depicting witty caricatures of animals and birds
imitating human manners most naturally. His simple lines
turned almost any and everything into a sneer or a sarcasm.
His brush is of light touch, but full of life and taste. - His
contemporary Chinkai (1089-1151) was no less clever.

There lived many amateur artists in these days, as seen
in the instances of Fujiwara Tadahira and Asukai Tsunenori,
who were both of noble birth and highly cultivated in art. It
is jestingly said about the former that he once painted a
cuckoo that sang melodiously, and that the latter, a lion that
was greeted with bow-wows by many a barking dog. ;
The Kose School. Descended from Kose no Kanaoka:

Aimi, Kimitada, Kinmochi, Fukae
and Hirotaka, etc., successfully handed down the art from
father to son. Kimitada was ingenious in drawing Chinese
landscape, while Kinmochi native scenery. The most pro-
minent was Hirotaka, who excelled in Buddhist pictures.
After the time of Kinmochi, the style underwent a new turn,
adding the beauty of imagination to realism.

The Takuma School. Founded by Takuma Tameuji,

who flourished at about 988,
and subsequently consolidated by Takuma. Tamenari towards
the Eishd era (1046-1053). Its speciality was Buddhist paint-
ing, which was executed with delicacy and taste. The life of
Tamenari, though celebrated, is very little known. The
Emperor Shirakawa appointed him ‘President of the Picture
Bureau” in place of the Kose school. The renowned Buddhist

14

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painting on the walls and doors of the “ Héwodé,” or Phoenix
Hall, in Uji near Kyoto, alone survives in its original splendor
to tell us of his eminent skill. Tametowo, his follower, is also
well reputed. Later this school had continued to the next
period, enjoying the public esteem.
The Kasuga School. A Yamato school; it originated
in Nara. The name “ Kasuga”
is derived from the fact that this style was born in the
“Picture Bureau of the Kasuga Shrine.” Its characteristics
were displayed in drawing Buddhist pictures with delicate and
slender lines, combined with its elegant and graceful coloring.
The very first President of the Bureau was, it is said, Fujiwara
Takachika (fl. 1100-1140). He was a son of Takayoshi (fl.
“1050-1080), who is ever fresh in every mind as the illustrator
of the famous romance “Genji Monogatari,” Some say, how-
ever, Takachika must be the true artist, but not Takayoshi,
judging from the chrolonogical standpoint. The best days of
this school were seen in the following period, though no one of
special merit had appeared.
The Tosa School. This is the original line of the
so-called ‘“ Yamato-E,” or native
painting. Fujiwara Motomitsu is said to be the founder, but
itis not yet certain. Tsunetaka is more popularly acknow-
ledged to be the initiator. This school came to be called
‘“Tosa’’ in memory of the event that Tsunetaka, son of Taka-
chika, was appointed Vice-governor of Tosa province. It
created its own style, with its ‘easy and commanding use of
brush and backed by simple but amazingly harmonized color-
ing. Further, it strove to sketch tastefully from nature.
Motomitsu, Fujiwara. (fl. 980-1010} A veteran artist: he
took the name “ Kasuga,” as he lived
in the Tddaiji temple, Kasuga. It isa pity that none of his
works is existent at the present day.
Mitsunaga, Fujiwara. (fl. 1160-1200) He received his

17

preliminary lessons from his father Takachika, and later was
appointed “President of the Kasuga Picture Bureau.” His
brush is the combined incarnation of activity, dexterity and
freedom. His “Rites and Ceremonies of the Year” is in
great fame as ever.
Tsunetaka, Tosa. (fl. 1200-1240) Since his appointment to
Governor of Tosa province, he changed
his family name into “Tosa.’’ He was an expert in Buddhist
painting. By Imperial order, he painted on the “ Kensei-Shoji”’
(Sliding-doors) in the Palace. The illustration of the
‘‘Romance of Priest Saigyo”’ is one of his most superb works.
Takanobu, Fujiwara. (1140-1204) He was as conspicuous a
painter as a man of letters. The
brilliant reputation of his son, Nobuzane, made the more of his
weight and honor. He was really proficient in realistic painting,
especially in portraiture.

THE KAMAKURA PERIOD. (11486—1334 A.D.).

After the repeated bloody struggles and the lamentably
liberal sacrifice of costly human flesh, alas! the Taira Clan was
completely overthrown by the gallant generalissimo, Minamoto
Yoritomo, who established the feudal government at Kama-
kura and became the first Shogun in 1192. Thus there prevail-
ed at least for the time being a scene of absolute tranquillity.
It needs scarcely be said that in those days when the Shogun’s
powerful authority was exercised all over the country, milita-
rism predominated above all and very little importance was
attached to the culture of literature. Simplicity and frugality
were respectfully observed by the people, while luxuriousness
and wantonness were cautiously kept far at a good distance.
As it was, early in the present period, nothing original could

18

be developed in art, the style prevalent in the previous
dynasty being continued. Then a gradual transition was
introduced into painting under the influence of the warrior’s
spirit, adding a large amount of life and active motion to human
figures, birds and animals, which were drawn as realistically as
possible. Besides, battle-scenes, horses and bulls were made
favorite subjects. The fashion of horse-pictures might have
been induced by military men who were naturally fond of
spirited steeds, while oxen were patronized by court-nobles
who used them for their carriages. As Buddhism thrived
there arose sect after sect, giving rise to Buddhist painting.
There were depicted mostly the origin of a sect, the miracle
of Buddha, and the life of an illustrious priest, etc., leaving
a considerable number of works to the present day.
The following schools were the leading factors in this
period :— The Kose, the Takuma, the Kasuga, the Tosa
and the Chinese school.
3 The last-mentioned one, later known as the ‘* Hokuso
School,” was only brought in at the closing part of this
period by the priests of the Zen (Dyana) sect, who had
been in China to pursue their study in Buddhism. Their pro-
ductions were at first not so far beyond the limit of amateurs,
but were full of taste and grace. In short, this school was no
more than a hobby of the eminent priests, such as Kawo,
Mokuan and Myotaku, etc. Kawo was an abbot of the Nan-
zenji temple. He stayed in China(Yuan dynasty) for 10 years.
His paintings are simple but impressive. He was skilful
in drawing “ Hanshan and Shiteh.” Myotaku was an adept
in bamboo and birds, besides the image of “Fudo” (Acara),
while Mokuan in drawing “ Kwan-on” (Avalokitesvara).
The Kose School. Was being overshadowed under the
hard pressure of the Takuma and-
Kasuga schools and was dying, vainly dreaming of its past
splendor. It began now to imitate the T:ang style and had

19

made it their speciality to draw Buddhist subjects with elegant
but unchangeable lines. Finding, however, the Takuma’s
brush very favorably met with the times, it had to run after
the rival’s fashion. Be that as it may, its proper works
showed something nice and tasteful beyond the reach of its
contemporaries. Ariiye and Munehisa were experts.
The Takuma School. Had undergone a_ gradual
change in its style since the
time of Tamenari. Eiga and his followers painted excellently, ~
in the middle of this period, Buddhist pictures with refinement
and cleverness ; but they adhered to the Sung style (Chinese)
too much and lost their own sharp brush, Shoga, Chdga,
Tameyuki, Eiga and Ryoson are the names that will never
perish as master-hands; above all, Shdga and Eiga.
The Tosa School. Pursuing steadily the gentle and
graceful style started in the prece-
ding period, this school displayed a feature peculiar to the
‘“Yamato-E ” (native painting), and routed totally all the
other schools. Moreover, holding the presidency of the
Picture Bureau, they were the only victors of the time. Truly,
this was the period that the Tosa enjoyed the best days,
favored by the successive appearance of great masters and
supported by their remarkably advanced art.
Nobuzane, Fujiwara. (1176-1265). One of the greatest artists
in this country and decidedly
the most excelled in the Tosa line. His vigorous and admira-
ble brush promoted him up to be the magnet of his contempora-
ries. The most renowned of all his works is certainly the
“‘ Historical Pictures of Kitano Shrine ” which is esteemed as a
marvelous success. He was expert in portraiture as in poetry.
Keinin, Sumiyoshi. (fl. 1166-1200) He used to be known under
the wrong name of * Keion.”
Served in the Sumiyoshi Shrine, from which his family name
“ Sumiyoshi’’ was taken. His works are full of spirit and

20

vigor, being much admired. He is highly regarded as the
illustrator of the famous romance” Heiji Monogatari.”
Takakane, Takashina. (fl. 1310) No contemporary could sur-
pass him in respect to coloring. He

took great pains in naturalistic painting and was a designer
of commanding talent. The “ Miracle of the Deity of Kasuga,”
which is perhaps the king ot all E-Makimono (rolled picture),
is attributed to be by his cunning hand.

Besides the above, Mitsuhide, Yoshimitsu, Nagataka
and Takasuke were all well-reputed men of art.

THE ASHIKAGA, OR THE MUROMACHI, PERIOD.
(1334—1573 A.D.).

ti This was a most bellicose and boisterous epoch of
incessant fightings and ceaseless disturbances. The stupid
regent Hojo Takatoki, miserably defeated by Nitta Yoshisada,
the brave and loyal warrior, committed suicide with his
followers at Kamakura in 1333, dismally dropping the final
curtain to the historic Hojo Family. Subsequently, Ashikaga
Takauji, the founder of the Ashikaga dynasty, snatched the
reins of feudal government, boldly establishing his headquar-
ters in Kyoto. Under such circumstances, the: people felt
continuously uneasy and unsettled. Most of the private
enterprises had gone to the brink of ruin, and the general
trend of the country was running to vulgarity and roughness.
Civilization was only under the feeble protection of priests who
produced the majority of paintings. Strange to say, however,
the fine arts had made a more miraculously striking progress
than it could possibly be imagined. This was positively due
to the esthetic dictators of the times, Yoshimitsu and Yoshi-
masa, the 3rd and 8th Shoguns. The former would be

21

introduced to tourists as the extravagant lord of the “ Gold
Pavilion,’ and the latter, as that of the ‘Silver Pavilion.”
The mental training in the Zen (Dyana) meditation, then
fashionable among the public at large, told so intensely on the
style of painting that simplicity came to be held in high esteem,
giving rise to the so-called ‘“ Hokuso School,” which charac-
terized itself of its simple lines in black and white. This
new school, inspiring a great deal of the Zen taste, captured
popular liking and reached the height of perfection, while the
Takuma had already gone into decay and the Kasuga had
met almost with the similar fate. In this period there appeared
many master-hands, who left us a countless number of works,
still adorning temples, shrines and private mansions all over
the country.
The Tosa School. The tide was not at all favorable,
though it was at its zenith in the
preceding period. In such critical moment, a mighty power
was sent down by God for the rescue of the weakening school.
It was in the form of Tosa Mitsunobu, who worked strenuously
and achieved a shining success, regaining its former reputation.
Mitsunobu, Tosa. (1433-1525) The distinguished father-in-
; law of Motonobu. The sight of the rising
sun of the Kano school impressed the promising youth so
deeply that he gave his whole time and energy, not to say of
soul and body, up to the study of art. His assiduity was
amply rewarded with a fresh canon in his line. His father
Hirochika gave him elementary lessons; later he learned the
styles of Kakuyt, Nobuzane, Kose, Takuma and Sumiyoshi,
eventually evolving his own style. Elegance and sublimity
were excellently displayed in his works. His ‘ Fukutomi’s
Tale,” “Historical Pictures of Kiyomidzu Temple” and
‘‘ Historical Rolls of Yizitinenbutsu Sect” are celebrated.
Mitsuaki, Takamitsu, Yukimitsu, Mistumasa, Yukihiro,
Mitsushige, Yukihide and Hirochika are all famous.

22

The Hokus6 School. As a result of the popularity of

the Zen(Dyana), simplicity and
sincerity were welcomed by the people in general. Painting,
too, was brought under its influence and many were thirsty for
simple pictures of strong and bold touches. The Hokus6
school, which was for the first time introduced into Japan by
a naturalized Chinese priest, Nei Itsuzan, and almost at the
same time by Kawo, towards the close of the preceding period,
was originated in China by Li Ssu-hsun (‘‘ Rishikin” in
Japanese) and his son in the Tang dynasty. Its style, consist-
ing of a few strokes and producing an effect of light and shade
in a clever manner, is very difficult to Ge a its merits
unless close attention be paid to its forte.

The priest Donhd was an expert in flowers and birds,
especially in bamboo. His contemporaries Shiigo and Tesshu
were also skilled in the same subjects, while Joye was a good
hand in scenery.

Mincho (Chodensu). (1352-1431). A remarkable veteran artist
of surprising originality: he
became priest when very young and later was appointed
‘“*Densu”’ (Curator of Hall) of the Tofukuji temple, hence he
is better known as “ Cho-Densu.” From childhood, painting
_was his only liking, and he studied steadily the methods of
ancient masters, especially those of Li Lung Mien (Riryomin)
of the Sung and of Yen Hui (Ganki) of the Yuan, finally form-
ing a style of his own. He was unrivaled in huge works,
which could be always seen from his relics; distinctively, in
the Kakemonos of Five Hundred Rakan (Arhats), now care-
fully kept in the Tofukuji.
Josetsu. (fl. 1371-1420) He was a priest of the Sdkokuji
temple aud the pioneer to learn the
Chinese school. He mastered completely the fortes of the
great artists of the Sung and Yuan dynasties, and still enjoys
the highest estimation. He was a favorite of the Shogun

23

Yoshimitsu on account of his art. His humorous painting,
“ Hydtan Namazu” (A man trying to catch a wels witha
gourd), does never fail to split one’s sides with laughter and is
reputably spoken of.

Shtibun. (1420-1450) A pupil of Josetsu and lived in the
same temple. He studied thoroughly
the styles of Ma Yuan(Bayen), Hsia Kuei (Kakei) and Muchi
(Mokkei). His excellent scenery, flowers and birds are all
drawn in a noble manner and are hotly chased by art lovers.
Sotan, Oguri. (fl. 1440-1470) He was a pupil of Shibun,
His landscape and human

figures are simply adorable, being most cleverly executed.

Keisho. (fl. 1490) Better known as “ Kei-Shoki.” He was
a secretary(Shoki)of the Kenchoji temple,
Kamakura, hence the name. His elementary lessons were
given by Shibun and then he imitated the style of Muchi. He
was exceedingly skilled in scenery and human figures, etc. ;
among others, his landscape is most fascinating. He never
painted a picture in colors, but all in black and white.

Noami. (fl. 1400-1430) He took first lessons under Shibun
and was very proficient in scenery, human figures, birds

and flowers. He was an authority as a critic on calligraphy
’ and art, besides being an expert in landscape-gardening. _
Geiami. (fl. 1460) A son of Noami, he followed his father’s
style admirably. His works are charming.

Sdami. (fl. 1480-1520) A son of Geiami: he was an artist
and a representative esthetic master
known far and wide. Being a great favorite of the Shogun
Yoshimasa, he made for him quite a number of gardens, still
existing to our growing admiration. At the start he studied
under his father and then he imitated Muchi (Mokkei) and
Lin Kai (Ryokai). He was no doubt an able hand.
Jasoku, Soga. (fl. 1430-1470) One of Shiibun’s disciples,

24

LANDSCAPE, BY SESSHU. (1419-1506)
OWNED BY THE MANSHU-IN TEMPLE, KYOTO.

competent in scenery, birds, flowers and personages. His
brush is full of strong yet elegant strokes.
The Unkoku School.
Sesshi. (1419-1509) One of the biggest figures in the pictorial
field that ever lived in this country.
No word of praise would suffice to express his unparalleled
talent in drawing landscape in black and white. No
palatial home would be complete without one of his works.
No artist could surpass him with respect to the regularity of
his brush and his bold composition. He was the founder of
the Unkoku school and his private name was “ Toyo.” He
began his art under Josetsu and Shitbun in the Sdkokuji
temple, where he was an acolyte when very young. Later he
went to China where he found no satisfactory teacher during
his five years’ stay, and returned home in 1469. Afterwards
he learned art from nature. He built a temple called “ Un-
koku”’ at Yamaguchi, Suwo province, and gave his school the
same title. He was exiled on a false charge to Otoyoshi,
Iwami province, where he died in the Daikian temple.

‘Shiigetsu. (fl. 1450-1500) One of the ablest pupils of Sesshii

and accompanied him on his trip
to China. His landscape is intensely admired.

Yogetsu and Shitoku. Disciples of Sesshi, are equally well

known. Shitoku was clever in scenery
and human figures. He went to Yamaguchi, where he lived
at the “ Unkoku-an ” and called himself Sesshti II.
Sesson. (fl. 1500-1550) Some say that he was not a pupil of

Sesshu, but he mastered his style ;
while others insist that he entered the studio of Sesshti. None
of Sesshii’s pupils could compete with him. By nature he
had a graphic talent. His works of witty brush and of queer
design often astonished the world. Critics say that Sesshii’s
noble spirit displayed in art is by far superior to Sesson’s,
while the latter’s dexterity surpassed the former’s.

27

The Kano School. The most influential factor in
Japan’s pictorial history, that retain-
ed for centuries its pre-eminence at the apex of state
patronage, had its origin in the Hokusd (Chinese) school.
Kano Motonobu married a daughter of Tosa Mitsunobu. This
union, which combined the Chinese and Japanese schools,
created a new style, famously known thereafter as the “ Kano
School.” Its nominal founder was, however, Kand Masanobu,
and it was placed on a solid foundation by his son Motonobu.
The name “ Kano” is derived from the reason that this family
started from the Kano village, Izu province.
Masanobu, Kano. (1453-1550) Called “ Yisei” on retirement.
His life was begun as page of
the Shogun Yoshimasa. Josetsu was his first teacher; further
he studied under Sodtan and Shtbun and established his own
style. When Sdtan died before he could get through with the
ceiling of the “Gold Pavilion,” Sesshtii recommended him as
his successor. The cleverness with which he fully discharged
his duties was returned with a high reputation.
Motonobu, Kano. (1476-1559) The Raphael of Japan and the
most superhuman artist that
Sunrise-land has ever had. His eternal fame is spread through
the length and width of the country as “ Ko-Hdgen” (the
highest order of an artist). He took his primary lessons from
his father, and then from Sotan and Shibun. He endeavored
to master the particular canon of the Tosa school, while once
he passed a few years in Bohemian rambles in order to
promote his artistic knowledge, making sketches here and
there, and succeeded at last in inaugurating a style of his
own, that is, the combination of the Chinese and Japanese
schools. Besides, he imitated Ma Yuan (Bayen), Lin Kai
(Ryokai) and Yen Hui (Ganki) for portraiture ; Muchi (Mokke?)
and Hsia Kuei(Kakei) for landscape. He was indeed a
matchless versatile artist ; his scenery, human figures, birds,

28

LANDSCAPE. BY MOTONOBU. (1476-1559)
OWNED BY THE REI-UN-IN TEMPLE, KYOTO.

flowers, and animals are all so amazingly well done that they
are free from criticism. His works are handled with soft as
well as vigorous strokes, being concise, pure and noble. His
paintings in possession of the Rei-Un-In temple, where he lived
for some time with Daikyu, the Dyana-master, are his typical
masterpieces.

Yukinobu, Kano. (1512-1575) A brother of Motonobu; he
received his rudimentary lessons from his
father. His works resemble Motonobu’s.

Hideyori, Kano, (1513-1562) The second son of Motonobu ;
| ~ he acquired a thorough knowledge of painting
and added no small honor to his family school.

Sho-ei Naonobu, Kano. (1518-1592) The third son of Moto-

nobu; he mastered his father’s style
and became an artist of great fame. His name is particularly
reputed as the father of Eitoku.

THE TOYOTOMI, OR THE MOMOYAMA, PERIOD.
(14574—1603 A.D.).

From the middle up to the latter part of the preceding
epoch, the whole Empire had been cast into the boiling heart
of perpetual battles and endless tumult, which historians
unanimously entitle the ‘‘ Warlike Age,’ when the valiant
general Oda Nobunaga made a cometic appearance and was
on the threshold of his glorious career, constituting a clue to
the restoration of peace and order. As bad luck would have
it, however, before he could accomplish this stupendous task
a shocking event had carried him away to the world
beyond — the assassination of Nobunaga by his aide-de-camp
Akechi Mitsuhide. This untimely tragedy presented a golden

31

opportunity for Toyotomi Hideyoshi, alias the “ Taiko,” the
greatest military genius that Japan has ever witnessed, enabl-
ing our unexampled hero to be recited by all lips for ages
eternal. Subsequently, the clear-sighted Taiko, sagaciously
joining hands with Tokugawa Ieyasu, the illustrious founder
of the Tokugawa Shogunate, achieved at length the splendid
exploit of reviving tranquil days in the land, which had been
torn by disorder and unrest for many dreary years. Thus, the
entire country had been brought under his command, and
further he undertook to conquer Korea and China, the possible
success of which death, while on the way, deprived him of.
Hideyoshi, having sprung up from an insignificant
corner of Owari province, entertained wonderfully liberal ideas,
paying very little attention to class and rank. His plebeian and
popular character did much to promote among the people,
high and low, the rise of a remarkable art movement. Among
others, painting, to which the religious motive gave birth,
nursed in the cradle of the Imperial Court, brought up among
nobles, and then handsomely grown up amidst priests and
warriors, ceased now to be their monopolized pastime, but
became universally appreciated. Now that disturbances were
over and the post-bellum peacefulness reigned, the lords and
generals shining with meritorious deeds began to indulge in
luxury and they lavished vast sums of money in constructing
residences, castles and temples imposingly decorated with
precious metals and gold and silver dust on the walls and
the doors. Under such condition, pictorial art made an
unprecedented progress with bounds and strides. Ona gigantic
scale, Hideyoshi erected the magnificent mansions of “Juraku”
and “ Momoyama,” besides the peerless ‘Osaka Castle,”
which required as a matter of course many works of art and
elaborate ornamentation of painting. Indeed, the striking
feature of the times reflected the glory-loving spririt of the
Taiko. Thus, the most glaring, ostentatious and dazzling

32

‘ATOM “OSA ‘IMVSVMVM ‘A JO ALWAIOUd AHL
CO6ST—-EFET) ‘NMOLIN AD “XINGHd

so-called “ Momoyama Style” is seen through those innu-
merable relics.
The Kano School.
Eitoku, Kano. (1543-1590) The greatest man in this school
with the exception of Motonobu.
His honorific name is ‘ Ko-Eitoku.” He was a page of
Nobunaga at first, and later served the Taiko. Being the
first son of Sho-ei, he received direct training from his grand-
father, Motonobu, next to whom he is justly regarded to
have done most towards the complete consolidation of his
school. His pictorial genius was a marvel of the time, for
none of his contemporaries could surpass him in landscape,
flowers, birds and human figures, etc., which were all drawn
boldly and vigorously, but not lacking in harmony and refine-
ment. His coloring strikes one with a blinding astonishment.
He was matchless in huge works. It was he that in a great
measure added brilliancy to the extravagant “ Momoyama”
and ‘“‘Juraku” palaces, which gained him such an honor
that, it was thought in his days, no mansion without his
artistic display could be accepted with admiration. No
wonder he was the sole owner of the Taiko’s patronage. It is
widely but unjustly said that he was obliged to depict only
rough pictures, as he had so many orders that he could not
devote enough time to detailed ones, in which he was not
experienced. On the contrary, he was unusually competent
in minute works as well.
Yusho, Kaihoku. (1533-1615) One of the two most eminent
pupils of Eitoku and an
excellent hand beyond all praise. He contributed by his
marvelous art animmense glory to his school. In fact, he
was an exceptionally versatile painter rarely to be seen.
Sanraku, Kano. (1559-1635) He was no other than the
one Whom the public consider
as equally a prominent disciple of Eitoku as Yusho. His

35

admirable skill made his teacher adopt him as son. His works,
exquisite and inviting, bear an extremely good resemblance
to that of his father-in-law. He was undoubtedly worthy to
add the weight to his school. 7
Mitsunobu, Kand. (1538-1610) The eldest son of Ejitoku:
he painted landscape, port-
raiture, flowers and birds very skilfully.
Takanobu, Kan6. (1570-1618) The second son of Eitoku;
he received professional edu-
cation under his father and became expert in art.

The Unkoku School,

Togan, Unkoku. (fl. 1580) He took elementary lessons from
Sh6-ei and later mastered the

brush of Sesshii, in whose old home “ Unkoku-an” he sought

shelter under the private name of ‘ Sesshii III.’’ His sons,

To-eki and T6-oku, made each his own mark.

The Hasegawa School.
Tohaku, Hasegawa. (1538-1610) His primary teacher was
Sho-ei. In later years, he
left the Kano school and became so ardent after Sesshii that
he succeeded in acquiring the mystery of the veteran artist.
No contemporary could cope with his vigorous brush and
cleverness. He called himself “ Sesshu V.”’ His sons, T6shun
and Torin, are all reputably known.

Chokuan, Soga. (fl. 1600) His style came from Minché, and .
he was very well at home with
almost all subjects, especially with hawks.
Nichokuan, Soga. A son of Chokuan; he painted tastefully
and elegantly. He was as dexterous as
his father in drawing hawks.

36

THE TOKUGAWA, OR THE YEDO, PERIOD. (14603-1868 A.D.)

All the internal troubles came to an end and the bright
sunshine was smiling for a brief space of time at the close of the
previous period. But the death of the great Taikd before he
could install his government on a firm basis, was about to
throw the whole nation again into the whilom state of com-
motion. Thanks to Heaven, howver, one hero passing away,
another hero was found in the person of Tokugawa leyasu,
who was a man of distinguished discretion and far-reaching
enterprise. He exterminated at last the Toyotomi family.
After he let his eldest son Hidetada succeed to the post of
Shogun, which he had held but for two years, he devoted his
utmost effort to the increase of the national welfare and of
his family happiness, enacting new laws and regulations,
establishing a clear distinction between the upper and lower
classes, and enforcing a restriction over the liberty of the
feudal lords and court-nobles with the ultimate object. of
weakening their strength. This project was successfully
accomplished by his intelligent grandson Iemitsu, the third
Shogun. It was in the latter’s rule that feudalism became
more prominent than ever and its topmost power was reached.
Under such a state of affairs, peace prevailed all over the
country, materially assisting the growth of literature and art
among the people, who passed their happy days. Yedo
(Tokyo) was the seat of the Shogunal administration and it
was but natural that it became the center of the fine arts.
Thus, there sprang up consecutively school after school,
namely, the Korin, the Itchd, the Ukiyo-e, the Maruyama,
the Shijd, the Nanga, the Kishi, and the Revival of Old
Tosa, etc., presenting a veritable scene of pictorial revolution.
Such being the case, lovers of art as well as artists came

37

to have many-sided tastes, so that some works had aristocratic
feature, while others had scholarly simplicity and force,
oftentimes seasoned with democratic and naturalistic ideas.
This was truly the ‘‘ Blooming Age”’ of painting.
The Tosa School. This had been handed down for
ages in an unbroken line, but it was
not fashionable at the beginning of this period, owing to
the overpowering popularity of the Kano. However, the
great Mitsuoki effected an innovation in the style, rejecting
mannerisms and setting no value upon formality. His appoint-
ment to the “ Superintendent of the Picture Bureau”’ brought
about its former honor and prosperity, though after his death
the school had become again depressed.

Mitsuoki, Tosa. (1617-1691) He was born and bred in the:

pictorial atmosphere. He took
his first lessons from his father Mitsunori. Afterwards he studi-
ed intently the styles of the leading Japanese and Chinese
artists, which made him rise to eminence in his profession.
His portraits, flowers, birds, plants, trees, fish, insects and
beasts are all admirably depicted and never fail to look true
to nature. This is made doubly attractive by infinitely
beautiful coloring and experienced calligraphy. He was one
of the three great painters of the Tosa school. |

The Sumiyoshi School.
Jokei, Sumiyoshi. (1596-1668) He was known first as “Tosa
Hiromichi” ; later when he entered the
priesthood, he changed his name to the present one. He
rendered his services to the Shogunate in the capacity of an
artist, and his excellent pictures are most delicately colored.
The Kano School.
Tanyu, Kano. (1602-1674) No one is adequately qualified
f to talk about Japanese art without
being familiarly acquainted with our Tanyit’s painting. Being

38

(vL9T—G09T) ‘QANVL Ad ‘OOUNVA ANV SYADIL

‘OLOAM ‘AIMWAL I[NAaZNVN FHL Ad GANMO

Blank Page Digitally Inserted

one of the few greatest artists, he is too well known even to an
unlettered person. He was the eldest son of Takanobu and
a grandson of Eitoku, and was called Morinobu at first. Upon
his father’s death in his early days, his rudimentary lessons
were taken from Kano Ko-i. After learning the styles of
Kawo, Sesshti and the prominent masters of the Sung and
Yuan dynasties, he succeeded in creating an independent
feature. He utilized freely and cleverly the best parts of
other schools, which afforded him an unlimited number of
fresh designs, and which turned out to be his strong points.
Many of his superb works, decorating temples, shrines and
palaces, are surely one of the most delightful attractions in
the country.
Naonobu, Kano. (1606-1650) He studied under his father
and then under K6.i likewise as his elder
brother Tanyti did. His pictures are mostly rough and bold,
yet have splendor and loftiness as well.
Yasunobu, Kano. (1612-1685) In spite of a representative
| artist of this school, he did not come up to
the standing of his brothers, Tanyii and Naonobu. However,
he won the honor of inheriting the head house of Kano.
Sansetsu, Kano. (1588-1651) He received elementary inst-
ruction from his father Sanraku, and after-
wards changed the style. His works are full of sublimity and
beauty, and he is ever respected as an expert.
Koi, Kano. (Died 1636) Highly reputed as the guardian of
Tanyt and his brothers. Kano Mitsunobu gave
him primary lessons, and in later days he imitated Sesshii and
Muchi. His landscape and personages are stately depicted.
Shokad6. (1583-1639) He was properly a man of calligra-
phy, but became an adept in painting, which he
did in an adorable way. He learned first under Kano Sanraku
and then imitated Muchi, through which he became an inde-
pendent artist, being much liked by men of taste.

AI

Tsunenobu, Kané. (1713-1635) One ot the most noted stars
in the Kano school. After having learned
completely his family style, he showed his special features.
His works are very well characterized by nobleness and
elegance, and they are colored most handsomely.
Morikage, Kuzumi. (Died 1700?) He mastered not only
the Kano but Sesshi, the Old Tosa, and
the Chinese artists, Ma Yuan (Bayen)and Hsia-kuei (Kakei).
He was truly a wonderful man. It is rumored that he was
cleverer than his teacher Tanyt, for which reason he was
expelled from the membership of the school.
Doun, Tanzan, Ryuyei and Sotei, etc., were the ablest
pupils of Tanyi, but Morikage was at the top.
Einod, Kané. (Died 1697) His father was his first instructor
and later he studied under Yasunobu. He is
also known as Kano Nuinosuke. He was an authoritative
connoisseur and compiled a book entitled “Honchd Gashi.”
Chikanobu, Eisen Furunobu, Eisen Sukenobu, Yosen
Korenobu, etc., are all highly spoken of.
The Korin School. Itis not perhaps too much to say
that the seed of this school was
originally sown by Hon-ami Koyetsu and its good harvest was
gathered by the world-famous Ogata Korin through the care-
ful farming of Tawaraya Sdtatsu, whose merits are for ever
recognizable. The characteristic feature of this school is,
that its works are generally painted sumptuously with elabo-
rate colors mixed with ‘“‘Gofun” (carbonate of lead) and
embossed on paper or silk, so that they have an apparent
aspect of relief work ; especially this peculiar method is mani-
fested in its fullest form in drawing chrysanthemum petals, or
the like. Strictly speaking, therefore, this style ought to
come under the industrial art rather than the fine arts, as it
produces a kind of decorative design more than regular
painting. Bethat as it may, the popularity of Korin is a

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BY KORIN.

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THE PROPERTY OF K. MAKOSHI, ESQ., TOKYO.

THE POETESS MURASAKI SHIKIBU

perfect marvel, and his works’ are most enthusiastically run
after by lovers of art.
Koyetsu, Hon-ami. (1552-1634) He inherited his family pro-
fession of a sword-conncisseur as the 8th
successor of the Hon-ami line. At the outset, he learned the
Old Tosa school and subsequently formed a style of his own.
His pictures are most artistically colored and very tempting.
He was an expert in calligraphy and also a rare hand in
making art-procelain. His grandson, Hon-ami Koho, was
scarcely inferior to him, but perhaps showed further progress.
Sotatsu, Tawaraya. (1623-1685?) He was born in an
obscure nook of Noto province, yet he
was an amazingly artistic man. They say that he studied
under Kano Eitoku, or Kano Yasunobu, or Sumiyoshi Jokei,
but it is not confirmed. He took a deep fancy to Koyetsu’s
painting, so that their coloring has a close resemblance.
Hlis flowers, trees, birds and human figures are all fascinatingly
worked out. His honor will never cease with that of Korin.
Korin, Ogata. (1654-1716) An immortal pride of pictorial
Japan and a most distinguished artist of
“modern times, who won the grandest reputation at home and
abroad. He was born in Kyoto and lived in Yedo. He is said
to have taken primary lessons from his father Soken, whose
school is not clearly known, and from Kojima Soshin, a pupil
of Koyetsu. It is again told that he studied under Sumiyoshi
Gukei and Kano Tsunenobu. In later years, he mastered the
Old Tosa school and imitated painstakingly the styles of
Koyetsu and Sotatsu, the complete digestion of which crowned
him with an everlasting success in founding the far-famed
‘‘K6rin School.” His flowers, birds, trees and personages,
tastefully painted and richly colored, are gazed at with untiring
admiration by all classes. Moreover, he was unsurpassable
in art lacquer-work, applying a variety of strange and curious
designs of a fresh and ingenious mode, which occasionally

45

lacked harmony yet displayed consummate skill of workman-
ship. Towards the evening of his life he became a priest and
changed his name into “ Nichiji.”
Kenzan, Ogata. (1662-1743) He was trained under his
brother Korin. His painting has sweetness
and dexterity inimitable by any others. His fame as an artistic
porcelain maker, is widely known among esthetic people.
Hoitsu, Sakai. (1761-1828) Another praiseworthy painter
is Sakai Hoditsu. His works executed with
fine and superb brush, being mixed with eccentric turns of
thought and poetical taste, are most intensely admired. He
was taught under Sdshiseki at the start ; then he took lessons
in naturalistic painting from Maruyama Ozui. It is also said
that he was a pupil of Utagawa Toyoharu, Watanabe
Nangaku and Kusumoto Sekkei. Later, he took a great fancy
to Korin and made an abundant collection of his works.
Then he studied strenuously for many years, which made
him to be called the reviver of the Korin school.
The Itch6 School, Its founder was Hanabusa Itcho,
the well-reputed rival of Korin,
though their taste and ability were not the same. It should be
considered proper that this school was an eclectic or some-
thing between the genre painting and the Kano school.
Itcho, Hanabusa. (1651-1724) Born in Osaka, he came up,
when fifteen, to Yedo where he put him-
self under the care of Kand Yasunobu. His talent, full of free
and novel designs, did not allow him to faithfully observe
the canon of his teacher, who finally grew impatient with
his osbtinate pupil and turned him out of the door. However,
he succeeded, after assiduous study, in becoming an
independent artist. He was conspicuous for the dexterity with
which he sketched men and women in the street just as they
were, Unfortunately in his 47th year of age, the Tokugawa
government accused him for a certain reason and exiled him

46

to the Miyake Island, where he had to spend many a lone-
some day. An idle gossip is afloat that this offence was due
to ‘the delineation of the “Asazuma Bune,” which was
mistaken to have satirized the 5th Shogun and his beauteous
sweetheart, O-Den no Kata by name, amusing themselves in
a pleasure-boat. After the lapse of twelve years, he was
released, and became more popular.
Stikoku, Ko. (1729-1804) He was taught by Sushi, a disciple
‘of Itcho, and later disgested tho-
roughly the Hanabusa, the Kano and the Tosa. He was
proficient in portraying warriors.
The Maruyama School. In the middle of this period
there was sighted a pictorial
miracle of great magnitude in the human shape of Maruyama
Okyd. He was endowed with a genius for painting and
sprang up amidst his influential seniors and mighty rivals.
He devoted his energy to the improvement of the naturalistic
style, bravely facing the competition of other schools. With
the waving colors ‘“‘Naturalism” hoisted up, he took the
whole world by electrifying consternation, at which the Tosa
and Kano schools were so sharply struck dumb that almost
all artists in Kyoto had to submit to his puissant brush as if
grass and plants had been bending before the sweeping wind ;
thus his studio was overcrowded with persons of Maruyama-
mania. Then he established a school so predominant that
it has been up to date incessantly absorbing a huge number
of followers.
Okys, Maruyama. (1733-1795) Born in Tango province as a
petty farmer’s son, he went up
to Kyoto where he learned the Kano style under Ishida YUtei,
and later he mastered the fortes of Chien Shun Kung (Sen-
shunkyo) of the Sung, and of Kiu Ying (Kyuyei) of the Ming,
etc. Besides, he imitated the old pictures of fame, but not
adhering to the insipid and manneristic canons, in place of

47

which he introduced a new fashion. In his human figures,
trees, flowers, birds, fish, beasts and insects, he was a master of
mystery and divinity. Each stroke is so delicately and
exquisitely carried out that it is utterly beyond description.
In fact, he was a many-sided artist, realistic and idealistic,
which can be seen in his magnificent works left behind to the
present day.
Ozui, Maruyama. (Died 1829) A son of Okyd: he was a
superior hand in drawing from nature. His
father’s honor and style were also his in no small measure.
Rosetsu, Nagasawa. (1754-1799) He was first taught by
Okyo and his diligence
enabled him to be an excellent artist. He was full of imagina-
tion and novel designs, being very highly qualified in rough
and bold sketches. Some of his works excelled those of his
teacher's and are always much admired. His taste and
dexterity are still an amazement.
Genki, Komai. (1749-1797) His forte was in drawing Chinese
beauties, which were executed
truly beyond competition. He must be the first and last artist
in this sort of painting. Matchless is the delicacy of his
handsomely colored works. He was a veteran pupil of Okyé.
Soken, Yamaguchi. (1758-1818) He studied under Okyo and
became an expert, particularly in portraits.
Mori Tetsuzan, Oku Bummei, Yoshimura Kokei. Fuku-
chi Jiei, Kameoka Kikurei, Kinoshita Oju, Yamazeki Kakurei,
together with the above-stated three are called the ‘Ten
Great Disciples of Okyd.”
Nangaku, Watanabe. (1766-1813) A pupil of Okyd at the
start, and later he imitated Korin. He
was the first and foremost man to introduce the Maruyama
school to Yedo for which he deserved no little merit. He
was skilful in drawing human figures, birds and flowers.

48

‘OLOAM “OSH ‘VUNWIHSIN ‘Ss JO ALWAAOUd AHL . (G6LI—-SELT) ‘OQAMO AX ‘SAIdVA NZGOH AHL

Blank Page Digitally Inserted

The Shijo School.
Goshun, Matsumura. (1751-1811) Being the originator of the
famous Shijo school, it requires no ex-
planation that he was a most remarkable artist. When
very young and not well known, he went under the name of
‘“‘Gekkei.” Now, the title “Shijo” came from his residence,
which was situated at Shijo Street, Kyoto. - His first teacher
was Onishi Suigetsu and then he studied under the noted
Buson. This wasthe reason he used to paint only pictures
after the so-called “Bunjin-Ga” (Chinese style), exclusively
practised by men-of-letters. Finally he asked Okyd to
take him as his pupil, which request, however, met with a
polite refusal. But as an intimate friend, he got a great
deal from the worthy senior, accepting freely his advises
and eventually changing his style radically. So Goshun’s
works present a striking resemblance to Okyd’s features, though
their taste and brush are quite different. In short, the Shijo
school is no other than a condensation of Okyd and Buson.
Keibun, Matsumura. (1778-1843) His lessons were given by
his brother Goshun, and he
was intensely accomplished in drawing flowers and birds in a
most realistic manner. He was truly a commendable painter.
Toyohiko, Okamoto. (1777-1845) A pupil of Goshun: he was
extremely competent in land-
scape. His brush is commanding and tasteful.
Bunrin, Shiokawa. (1807-1877) He studied under Toyohiko
and painted scenery daintily and cleverly.
Sosen, Mori. (1747-1821) The greatest monkey painter that
this country has ever had. Toa
few persons it might be news that he was a reputable expert
in drawing this particular subject. It is really a marvel how
he could depict these animals so effectively. No wonder that,
in order to study the life of monkeys, he used to live with
them in the same cage. It is not a joking criticism that any

51

other animals from his brush look like his favorite monkeys.
Born in Nagasaki, he spent his days in Osaka.
The Nanso School. The “Nanga” is another name
given to this school. It had its
origin far remote in the Tsang dynasty, being founded by Oi
Wang Wei (Omakitsu). Its style is rough and crude, mostly
sketched in black and white, but oftentimes colored. At its
start this was nothing of professional nature in it, but a hobby
among men-of-letters. It was in the Kyoho era (1716-1736)
that this school began to find its way to Kyoto. Since then
its followers were gradually multiplied ; among others, Buson,
Taigadd and Ryirikyo the typical artists. In Kyushu, there
were the veteran Chikuden and Tetsuwo, while Beisanjin in
Osaka. In Yedo, however, this school was never in vogue
until the end of the Bunsei era (1818-1830) when it became
most fashionable with the popularity of the Chinese classics,
and there appeared such authorities as Kwazan and Chinzan.
Besides, Chen Nan Ping (Chinnanpin), a Chinese artist, intro-
duced a style of painting, which was transplanted to Yedo
by Sdshiseki. It was Gion Nankai and Sakaki Hyakusen
that, in the midst of the thriving days of the great Tanyi,
did their best towards the propagation of the Nanso school.
But Buson and Taigadd made its name much more significant
and valuable.
Nankai, Gion. (1686-1671) Besides a good artist, he was as
well versed in literature as in calligraphy. His
strong points are visible in landscape and bamboo.
Hyakusen, Sakaki. (1697-1753) He mastered the styles of
the Yuan and Ming dynas-
ties, and is still well talked about.
Ryirikyo. (1702-1758) He is also known as “ Kiyen.” His
diligent study of the authoritative
works of the Yuan and Ming periods made him a leader in
this line of painting. His repute rests with the refinement

52

CARP AND PINE-TREE. BY GOSHUN. (17581-1811)
THE PROPERTY OF 8. HIGUCHI, ESQ., OSAKA.

and elegance of his beautiful brush.
Soshiseki. (1715-1780) He studied under Yahi and became an
expert in the Nanga.
Taigado. (1722-1776) His full name is “Ike Taiga.”’ He
was a bright star in this school, signally
known far and wide. Being a very simple and jolly-hearted
man, he was scarcely affected by the worldly affairs, and gold
was by no means inviting to him. He went first to Ifukyu,
then to Rytirikyo and lastly to Gion Nankai. His style is the
true reflector of his character—simplicity, sincerity and candid-
ness themselves which is also demonstrated in his talented
calligraphy.
Buson, Sha. (1715-1783) A renowned Nanga artist, almost
unsurpassable by any. His name
itself is a delight even without looking at his work. To any
and every picture of the Yuan and Ming periods he gave
careful attention and thus established himself as a great
master. His scenery, flowers and birds are full of grace and
poetic taste, and his composition and design would often
take one’s breath with high admiration. He was excelled
_ in calligraphy, and was the first teacher of Goshun, the founder
of the Shijd school.
Chikuden, Tanomura. (1776-1835) He was a laudable man
of literary as well as pic-
torial knowledge and was thoroughly conversant with all the
weak and strong points of the school. There is no doubt that
he was, as the rest of his fellow-painters, good in landscape,
yet also adept in human figures, flowers and birds.
Buncho, Tani. (1764-1841) The most representative artist
the Nanso school could rightly
be proud of. Decidedly his ability was and still is a wonder
of the world. His divine skill in depicting landscape was
utterly beyond comparison. Being an exquisite colorist, there
was no match for his green hills and purple water, besides

55

excellent human figures, flowers and birds.
Kwazan, Watanabe. (1782-1841) An eminent pupil of Bunch:
he imitated the masters of
the Ming and Shing periods, and succeeded in comprehending
the secret of perspective and shading in foreign painting,
in Which he made himself to be looked upon as a very good
hand. His landscape, flowers and birds are so nobly drawn
that they have little of earthly air.
Chinzan, Tsubaki. (1800-1854) He was taught by Kwazan
and later by Buncho. His
flowers, most temptingly colored, are charmingly and superbly
painted and are showered with ceaseless praises.
Okamoto Shiki, Fukuda Hanko and Yamamoto Kin-
koku were all able pupils of Kwazan.

The Ukiyo-E School And Color Prints.

This is undoubtedly the most interesting line of painting
by which to study the poetic manners of ancient Japan, which
are, to our deep regret, vanishing little by little, at least in
large cities, being driven out by modern civilization. Indeed,
no picture would show us more graphically and entertainingly
the antique customs of this country than our genre painting,

Now, the word “ Ukiyo,” literally meaning the “ Tran-
sient World,” is an expression derived from Buddhism, signi-
fying the human life full of miserable and doleful affairs, which
is as fleeting as a floating cloud in the sky. But the original
sense had gradually changed so far as it finally came to
denote merely the every day life of the people or the new
fashion. ‘“ E” simply means painting.

The principal object of this school was to illustrate the
social manners of the current time to fit the taste of the
lower classes, who had neither lofty ideals nor knowledge of
learning to appreciate the historical or classical pictures of
the aristocratic Tosa and Kano schools, which only appealed

56

to the intellectual circle. In spite of the fact that the Tosa
painted now and then what they called the Ukiyo-e, there
had never existed a proper Ukiyo-e school until Iwasa Mata-
hei, an eminent artist of the Tosa origin, pioneered the style
during the Kwanyei era (1624-1644). At the outset, the
painting was done by hand as in other schools, but it became
so fashionable that there occurred the necessity, as a natural
sequel, to resort to the facilities of its production in the shape
of printing, which helped considerably the wide and steady
diffusion of works. However, neither Matahei nor his pupils
contrived prints, but the multiplication of pictures by means
of wood blocks was started by Hishikawa Muronobu, the
second great man, who established the foundation of the
schoo]. Until the time (1671-1751) of Sukenobu and Chdshun,
only half the number of artists of this school had painted for
printing purposes, but after that it became universal among
all of them. Thus they came to be called the “ Delineators
of Wood Blocks.”

The Stage of Color Prints.
The ‘‘ Sumi-e,” or those printed in black only, were the

foremost prints from wood blocks. They were
often colored by hand. Then came
The ‘‘ Tan-e,” or those prints first in black, to which a red ~

lead pigment (Tan) was applied by hand,
hence the name. Besides red color, green and yellow ones
were occasionally added. They were most fashionable during
1673-1084 (Enpo-Tenwa), followed by
The ‘ Kurenai-e,”? a sort of the Tan-e, distinguished by a

brighter red color than the Tan-e. This
made a momentary appearance only at the beginning of the
Kyoho (1716-1736), being immediately replaced by
The ‘‘ Urushi-e,”? lacquer picture, so named from the reason
that the surface of those prints in black

was lacquered over. Later, in addition a pigment of red,

57

yellow, blue or black mixed with glue was used. For lacquer
was usually substituted a less expensive stuff made out of
Indian ink and glue, and it went under the same name. The
Urushi-e were in vogue during 1716-1744 (Kyohd-Kwanpod),
subsequently giving place to
The ‘‘ Beni-e,”” which were primarily printed in a soft vege-
table pink, then yellow, blue, green or purple
was also employed. The existing Beni-e, being printed in
colors of inferior quality, are mostly faded and the original
shades are hardly traceable. They were prevalent during
1744-1763 (Kwanpo-Horeki), Then there appeared lastly the
famous color prints,
The ‘‘ Nishiki-e,” (literally, brocade-pictures), which are the
highest perfection of color prints. Their
exquisiteness was applauded by the word of brocade, hence
the name. The Nishiki-e and the Beni-e are executed by the
same method, that is, printing one color over another by the
process of wood blocks. The only differences are: the pig-
ments and paper used for the Nishiki-e are far superior than
the Beni-e’s, and the workmanship is much more refined.
Another feature is, that the Beni-e are printed in primitive
hues, while the Nishiki-e in mixed colors. Now, the Nishi-
ki-e are said to have been printed for the first time in 1765 by
one Kinroku, an engraver in wood blocks, with the assistance
of a certain printer, with whom he devised a method of setting
blocks and paper together in proper position in order to print
in several colors one after another. Rumor has it that one
Emiya Kichiemon invented this method already in 1744, but
it is uncertain. At any rate, it would be safe to believe that
the works before 1765 had been colored by hand.

The above is a summary of color prints, much admired
at home and abroad ; nevertheless, it is beyond all expression
to be lamented that this art should have become step by step
extinct since the latter part of this period.

58

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Matahei, Iwasa. (1577-1650) The pioneer of the Ukiyo-e
school, whose name is immortal on its title-
page. He was the youngest son of Araki Murashige, a Samu-
rai, who disobeyed for some reason or other to the order of
his lord Oda Nobunaga and was compelled to commit suicide,
when Matahei was only two years old. Thereupon, the poor
infant was taken away by his nurse to seek refuge for a time
and went to Echizen, his maternal home. This was why he
changed his paternal name of Araki into Iwasa from his mother’s
family. When he grew up, he came up to Kyoto and studied
art under Tosa Mitsunobu, later evolving a style of his own.
His pictorial fame reached the third Shogun Iemitsu, who
called him up to Yedo where he displayed his. consummate
skill in genre painting. He was not only an able artist, but
well versed in literature. His works, the “Thirty-six Poetical
Geniuses” in the Toshogu Shrine in Kawagoe, and the
Hikone screens are gazed upon with particular admiration.
Muronobu, Hishikawa. (1638-1714?) The memorable man
as the initiator of wood blocks and
as the one who consolidated the Ukiyo-e school. He was a
noted designer for single sheet prints and illustrated books.
His family profession was that of embroiderer in the province
of Awa. When young, he came up to Yedo, where he learned
painting and became such an expert that he had no seniors
but one.
Chdshun, Miyagawa. (1681-1752) He was a master hand in
genre subjects and an unequaled
colorist. He studied the Tosa at the start and then imitated
Matahei. His son, Katsukawa Shunsui, was a good artist
too, and their brush resembles each other.
Sukenobu, Nishikawa. (1670-1751) No other eminent artists
came out of the districts
of Kyoto and Osaka, except our great Sukenobu, to favorably
compete with those in Yedo. There are many of his works

63

showing the Ukiyo-e in its fullest beauty ; among others, his
attractive coloring is really excellent.
Kaigetsudd. (fl. 1700) There isa strong reason to believe
that the name “ Kaigetsudd” must
have been handed down in succession to different artists, as it
continued too long for one or two persons. The features of
women drawn by them are too fat and do not look elegant.
Kiyonobu, Torii. (1563-1729) A_ representative Ukiyo-e
painter, who chiefly painted
signs of theatres. He was at first an actor in Osaka, but his
fancy for painting led him to become a pupil of Muronobu ;
later he founded a style reputably known as the “ Torii.’”’” His
brush is characteristic of its roughness. His son, Kiyomasu,
and his grandson, Kiyomitsu, were good hands.
Kiyonaga, Seki. (1751-1815) He was the 4th successor of |
the Torii school. He and Uta-
maro were most conspicuous in their days. The bold air
peculiar to this school had been greatly lessened since his last
predecessor, yet he depicted women extremely beautifully and
pleasing to the eyes.
Masanobu, Okumura. (1689-1768) He was a bookseller and
learned painting under Muronobu,
subsequently becoming immensely experienced. His Beni-e
and illustrated books are widely appreciated.
Harunobu, Suzuki. (1741-1787) He was a pupil of Shigenaga,
and became intensely skilful in drawing
handsome women, but despised to paint actors. Great
improvement was made by his effort in the art of color prints,
which up to that time had been in an undeveloped stage.
Shigenaga, Nishimura. (fl. 1730-1765) He took lessons from
Kiyonobu and was competent in drawing actors.
Shunsho, Katsukawa. (1725-1792) A pupil of Shunsui; he
most excelled in portraying actors. His
name was made significant because he had the great Hokusai

64

as his disciple.
Shigemasa, Kitao. (1738-1819) He was a sort of amateur
artist and afterwards became
an expert. He is highly reputed as the illustrator of the
works of the distinguished authors, Kyoden and Bakin.
Koryisai, Isoda. (fl. 1771-1788) He used to paint a long
kind of picture. Since his promotion to
the rank of “‘ Hokyo,” he gave up painting for wood blocks.
Sekiyen, Toriyama. (Died 1788) At the start he studied the
Kano and then the Ukiyo-e.. He was so
fortunate that the famous Utamaro appeared among his pupils.
Utamaro, Kitagawa. (1752-1205) Not only is his name very
familiar even to an illiterate at home,
but rings all over the world, attracting keen attention from
print-collectors. He was decidedly matchless in drawing
beautiful women, and young and old are fascinated at the
lovely air and charming style of his worthy productions, upon
which modern artists gaze open-mouthed with astonishment
and hopeless envy. His beauties are all of rather oval face
and tall stature, and exceedingly graceful, though there is
not a fear of their being a little too slender, apart from natura-
listic painting. Be that as it may, no one has ever been so
successful in depicting the fair sex as he was. Alas! here isa
piece of ill luck. To his great agony and intense sorrow, some
of his works were deemed contradictory to the authority at
the time and he was imprisoned in 1804. Shortly after he
was released he passed away, being physically and mentally
no longer as he used to be. Among his pupils, there were
Utamaro II., Shikimaro, Kikumaro and Yukimaro, etc.
Kishi, Hosoda. (Died 1829) He was extremely accomplished
in drawing dames and damsels in a most
elegant and noble-looking style. Their exquisiteness deceives
God. He took his preliminary lessons from Kano Eisen, then
devoted himself to genre painting. Some of his works are far

65

above those of Utamaro and rank high in public esteem.
Sharaku, Saito. (fl. 1790) He was known asa theatrical
portraitist, and was a “No” actor,
in which capacity he served the Lord of Asht. He originated
a style called “ Kirarazuri” or ‘ Ginzuri,”’ which covered the
back-ground of a picture with a silver color. As he tried to
paint too true to nature, his works failed to be popular, which
caused him to give up his art ina few years, so that he left
only a very limited number of productions. Among many
genre painters, however, he is the only man who came to
such a melancholy end and who won such an undreamt-of
popularity after death.
Toyoharu, Utagawa. (1736-1814) He was the founder of the
Utagawa style of the Uki-
yo-e, and devoted his effort in producing theatre-signs.
Toyokuni, Utagawa. (1768-1825) A pupil of Toyoharu: he
became a master of his own
style. He was renowned in portraying actors and his fame
rests with his exquisite works.
Toyohiro, Utagawa. (1772-1828) He was a fellow student of
Toyokuni under Toyoharu.
To his joyful fortune, he found the celebrated Hiroshige among
his pupils, which made him still more reputed. He painted
skilfully for single sheet prints and illustrated books, but he
never portrayed actors, which he disliked to do.
Kunisada, Ichiyosai. (1785-1864) Being the most exalted of
Toyokuni’s pupils, he called
himself later “‘ Toyokuni II.’ He had become conspicuous
since he illustrated the “Inaka Genji” by the veteran author
Tanehiko.
Kuniyoshi, Ichiytisai. (1796-1861) He was taught by Toyo-
kuni, and his talent in
drawing warriors was beyond imitation by his contemporaries.
Kizan, Kikugawa. (fl. 1805-1825) The female sex, which he

66

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“NISHIKI-E” BY UTAMARO, (1752-1805)
(A LADY BLACKENING TEETH)

painted stylishly and amiably was his favorite subject, but he
never painted actors cleverly.
Eisen, Ippitsuan. (1789-1848) He was a nominal student ot
| Eizan. He was experienced
in everything, distinctively in depicting mighty chic ladies and -
bashful maidens. Yet his weak point exists in short stature,
while in others too tall.
Hokusai, Katsushika. (1759-1849) The pictorial ~ horizon
towards the latter part of this period
was radiantly illuminated by a grand star of marvel -— the
appearance of the far-famed Hokusai. Although he was at
first nothing but an iron-mirror polisher, his endowment deve-
loped in the shape of a most wonderful artist of the Ukiyo-e
school. It is no matter of surprise that his works of highest
attainment are strongly admired by all nations in the world.
His rudimentary lessons were given by Shunshd, by whom
he was excommunicated for an unknown reason. He often
altered his teacher, and later studied the styles of Sdtatsu
and Korin. Finally he mastered the principles of the land-
scape of the .Ming fashion and the law of perspective of
Western painting. Thus he became an independent master of
a typical style. Not to speak of human figures, but landscape,
birds, flowers, animals, and all objects in the universe were
put under his miraculous brush, which delight us in the present
days. There are many of his works in book-form, of which
“ Hokusai Mangwa” and “100 Views of Mt. Fuji” are most
well known. Hokusai had a curious propensity to change
frequently his name, giving his old ones to pupils. Another
habit was his removing his abode, which eventually numbered
as many as 88 times through his life of 92 years. A sight
or noise of disagreeable nature in the neighborhood was too
much for him to endure for a moment, so that once he made
three removals in a single day. This might sound to the
reader like an Aesopian fable, but it was the fact. Thanks to

69

the Lord, however, our interesting man of fitful disposition
breathed his last quietly in his cosy bed at an enviable age.
Hiroshige, Andd. (1796-1858) Could any artist be more

successful in showing us an
artistic and poetic rendering of nature than our peerless Hiro-
shige? There may be possibly a few equals, but positively no
superiors. No wonder his name and fame are ceaselessly
echoing in nooks and corners. He started his art career with
Toyohiro and became expert in genre painting, especially
unrivaled in scenery. Any of his original and truthful works,
adorably and superbly colored, are too manifest to need com-
ment, and it serves really as a stimulant to look upon them at
a wearisome hour. The noted ‘“ Fifty-three Stages on the
Tokaido” by his cunning hand would be strange perhaps only
to few lacking in elegant taste.

The Mochizuki School.

Gyokusen, Mochizuki. (1668-1755) The founder of this school,
he took his elementary lessons from

Tosa Mitsunari and then from Yamaguchi Sekkei. Subsequent-

ly studied he the style of Motonobu and became an authority.

His brush, full of bold and strong touches, tells much of his

experiences. Truly was he one of the noteworthy artists.

The Kishi School.
Ganku. (1749-1838) He shige tail this school and was
unsurpassable in drawing wild birds and
animals ; above all, tigers. When the Maruyama and Shijo
schools were enjoying their best days, he made himself a
good rival among powerful contemporaries. He thoroughly
mastered the styles of the Sung and Chen Nan Ping, and there
was nothing to be desired in the way of his skill. But his
only weak point was his greediness for money, so that once he
was given a painful lesson by a sensible man, who showed

7O

tz

wile ac

(1759-1849)

BY HOKUSAI.

« NISHIKI-E.”

(MT. FUJI AND WAVES)

(IHSOMONVAIW 40 ANHOS FHL)
(8¢8T—-96L1T) “ADIHSOUIH AW «A TXIHSIN »

the covetous artist one of his masterpieces being used as a
loin-cloth to put him to shame.
Gantai, Kishi. (1784-1865) His father Ganku was his teacher
and he became a good hand, but
his predecessor was far superior.
Renvzan, Kishi. (1803-1859) He studied under Ganku for
: many years and later imitated
the Shijo school. His birds and flowers are laudable.
Kwazan,Yokoyama. (1783-1837) Being an able pupil of
Ganku, he learned the Shijo school, so
his style has a special feature of his own. His landscape,
flowers, birds, and human figures are all cleverly painted.
Bunpo, Kawamura. An eminent disciple of Ganku. His
works are handled with free and vigorous
strokes, being clever in any subject.

The School for Revival of Old Tosa School.
The works of the Tosa school in later periods had
entirely lost their special _ pre-eminence, which could be
discerned in the old ones. Thereupon, there appeared a new
school aiming at the revival of the old Tosa school. Totsugen
was the promoter, followed by Ikkei and Tamechika.
Totsugen, Tanaka. (Died 1823) He studied fully the great
masters, Mitsunaga and Nobuzane, and he
himself became a master-hand. One day Totsugen said,”
“ An artist would rather die than lose his eyes.” Alas! the
poor fellow lost his eyesight at an advanced age. Filled
with sorrow and indignation, he fasted for a number of days
to put an end to his life, but in vain. Finally he bit his
tongue, which enabled him to reach his mournful goal.
Ikkei, Ukita. (1794-1859) Totsugen was his first instructor,
and afterward he mastered the
style of Nobuzane, in which he became expert. He was
particularly well versed in the knowledge of “ Yi-soku”’

oe)

(Customs and Ceremonies of Court and Warriors), and was
also as proficient a man in calligraphy as in composing poems,
Tamechika, Okada. (1821-1863) He used his brush in an

infinitely free and easy man-
ner, and his pictures are full of dignity and elegance. He
was a tempting colorist and was amazingly dexterous in
drawing ‘“ Yu-soku.”

The Independent Artists.
Jakuchii, It. (1715-1800) A most remarkable artist, who was
a greengrocer in Kyoto. He mas-
tered the Kano, the Ko6rin and the masters of the Yuan and
Ming dynasties, and originated his special style entirely diffe-
rent from the Kano, the Shijo, or the Nanga. His elaborate
paintings are done with utmost skill and colored most
supremely and attractively. He was positively matchless in
drawing hens. |
Shukuhaku, Soga. (1729-1783) His style has a look of the
Kano school, yet it differs
from it, assuming an absolutely unique feature. His subjects,
fantastic, weird, but genteel in a way, surprise one beyond
expectation. Besides, his designs, original yet eccentric,
which he used to pick up singularly, proved to be a wonder,
and all his pictures of striking type are handled with extreme
cleverness.
Gessen. (1720-1809) He was a priest experienced in painting.
His style resembles the Maruyama, Shijo
and Kishi schools, and his landscape is capitally finished.
Zaichi, Hara. (1749-1837) A reputable artist very skilful in
drawing flowers and birds, etc.
His handsome coloring merits a large share of attention.

76

THE MEIJI] PERIOD. (1868—1912 A.D.)

The most glorious and magnificent in the history ot
Japan is certainly the Meiji period, brilliantly governed by the
late great Emperor, Meiji Tenno. The preceding Tokugawa
era extending over two centuries and a half, which had been
a prolonged stream for the tranquil flowing of prosperity and
of the golden age of art, has at length poured into and been
swallowed up by the Vortex of Destruction, where the
“ Restoration of Administrative Power to the Throne” had
just been whirling about. The fall of Feudalism and the
rise of Meijism turned out as the natural consequence, in
which the Daimyos lost their fiefs and the Samurais their
pensions.

Thus, during the first twelve or thirteen years of the
Meiji, we found much to our regret that the fine art circle was
miserably shattered more than any other professions. Over-
come with terror from the civil wars, it was but reasonable
that no one thought of painting, so that artists were reduced
to a lamentable condition. As it was, they had to change
their pursuit: those in Tokyo became draughtsmen in the
Government offices, while those in Kyoto made a scanty
livelihood as designers for ‘‘ Yiizen” dyeing. Thanks to God,
however, there appeared a sublime rainbow in a dream. With
the gradual recovery of peace and order, coupled with the
introduction of Western civilization, art and literature sprang
up side by side splendidly, so that the erstwhile painters
could resume their works. Ah, Spring returned to the esthetic
world !

Now, the Government began to wake up and protect
the fine arts, asa result of which, there was established in
1880 a Prefectural Painting School in Kyoto, with Unno

77

/

Bairei, Kishi Chikud6 and Kubota Beisen, etc., as teachers.
In Tokyo, the.Government Art School and the Fine Art Asso-
ciation were founded in succession, followed by expositions and
competitive exhibitions here and there. Besides, the ‘“ Bureau
for the Protection of Old Temples and Shrines and Valuable
Works of Art” was organized. The Government held and
still holds yearly an art exhibition under the control of the
Department of Education, accompanied by a number of
private ones.

The most fashionable at the beginning of this period
was the “ Nanga or Nanso” school, while the Kand was
nearly out of fashion and the Tosa met the same fate. One
who did much towards the revival of painting was the late Mr.
Ernest Fenollosa, a Bostonian. Since he came over here in
1879, he was a great admirer of our art. May his soul calmly
repose in a prettily wooded cemetery looking down upon
Lake Biwa, famed for its “Eight August Views” !

The Kano School.
Hogai, Kano. (1827-1888) His landscape in black and white
is boldly and excellently executed.
He was clever in taking in strong points of foreign painting,
and was most distinguished in the Meiji era.
Gaho, Hashimoto. (1835-1908) He was a man of talent,
extremely excelled in landscape. There
is no doubt that he was one of the best modern artists.
The Tosa School.
Kwangyo, Mitate and Chitora were noted.
The Shijo School.
Zeshin, Shibata. (1806-1891) He was an expert in flowers,
birds and portraits. His works
are full of novel designs and the composition is praiseworthy.
He was also a master-hand in lacquer work.
Hyakunen, Suzuki. (1823~1891) An experienced artist in.
flowers and birds.

78

Bairei, Unno. (1843-1895) The most famous flower and bird
painter in this period. His work
“ Hyakucho Gafu”’ is widely known.
Kwansai, Mori. (1813-1894) His brush is full of vigor and
. grandeur. He was remarkably
siiiiteat in leanne birds and flowers.
Beisen, Kubota. (1851-1906). He was a good hand and did
a great deal towards the advancement of art.
Gyokusho, Kawabata. (1835-1912) He was accomplished in
drawing landscape, besides birds and flowers.
The Nanga School.
Sd-un (1814-1898), Yiikoku (1825-1898)
and Katei (1829-1829) were all famed.
The Kishi School.
Chikudo, Kishi. (1825-1897) He studied the Kano at the start
and then under Renzan. He was
adept in any subject, especially in tigers.
The Yosai School.
Yosai, Kikuchi. (1787-1878) He was the founder of the Ydsai
school and a well known loyalist.
He was eee in historical painting, which he depicted
in a most noble manner.
The Ukiyo-e School.
Yoshitoshi, Tsukioka. (1838-1892) A typical artist in this line;
he painted cleverly all genre pictures.
Kyosai, Kawanabe. (1827-1889) He handled his brush freely
and admirably, being im-
mensely dexterous in drawing caricatures.
Eitaku, Kobayashi. (1842-1890) He was a pupil of the Kano
‘school and later studied the
Ukiyo-e, in which he became thoroughly competent. |
The following names may be added as the prominent
artists in the Meiji era, who are still displaying their skill in
the present day :—

79

Seiho, Taikwan, Kwanzan, Kogyo, Tomoto, Tanryo,
Kason, Shunkyo, Jippo, Raisho, Shdhin, and Suiseki, etc.

Occidental Painting In Japan.

This has, through a series of vicissitudes, made a
marked progress in this period. Itis generally believed that
Western painting was first brought to this country by some
Portuguese or Spanish about 1570-1592. It had soon dis-
appeared for a time with the closing of the land to foreign in-
tercourse. Yamada Uemon, a native of Kyushu, is said to be
our pioneer artist in this line, followed by Shiba Kanko (1746-
1818). At the end of the Tokugawa period, Kawakami
Tégai gave instruction in oil painting in the “ Bureau for
Investigation of Foreign Books.” In the Meiji, the foremost
alien teacher was an Englishman, Charles Wirgman, a cor-
respondent of the “London Times.” His principal pupils
“were Takahashi Yoshiichi, Goseda Hdryu and Yamamoto
Hosui, etc. Kunizawa Shinkurd was an expert. In 1876
Antonio Fontanesi, an Italian, was appointed Instructor. of
Painting in the newly-organized Art Department of the
Imperial Engineering College, Tokyo. Oyama Shotaro,
Matsuoka Hisashi and Asai Chi, etc., are all well known as
his once students. Fontanesi was succeeded in 1878 by another
Italian, Feretti by name, who was far inferior to his predece-
ssor, which made him unpopular, and he was discharged in
1880. Then San Giovani, an Italian, took his place which
he had to leave in 1883. Shortly afterwards, Yamamoto,
Oyama, Asai and Matsuoka, etc., founded the “ Meiji Fine Art
Association” in co-operation with Kawamura Kiyo-o, who
had just returned home from Italy. In 1896, Kuroda Kiyoteru
and Kume Keiichiro, who studied in France, established ano-
ther art association called the “ Hakubakwai”’; then there
came “ The Taiheiyo Gakwai” and “ The Tomoe Gakwai.”

80

In brief, Western painting was in a most flourishing stage
hitherto unknown.

CONCLUSION.

An outline of pictorial Japan has just been given. For
fear that further details might cause confusion to touring
readers, we conclude hereby this small work, cordially
requesting them to study Japanese art, which is endowed
with characteristic features of her own.

END.

81

List of Principal Artists
in the Book.

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